Abrams, J. and Parker-Starbuck, J. (2007) ‘Politics and the Classics’, PAJ 29: 88–100.Google Scholar

Achebe, C. (1975) ‘The African Writer and the English Language’, in Morning Yet on Creation Day (London), 55–62.Google Scholar

Adamitis, J. and Gamel, M. K. (2013) ‘Theaters of War’, in Roman Literature, Gender and Reception: Domina Illustris, ed. Lateiner, D., Gold, B. K., and Perkins, J. (Abingdon), 284–302.Google Scholar

Adams, M. (2011) From Elvish to Klingon: Exploring Invented Languages. Oxford.Google Scholar

Ahrensdorf, P. J. (2009) Greek Tragedy and Political Philosophy: Rationalism and Religion in Sophocles’ Theban Plays. Cambridge.Google Scholar

Aitken, W. (2004) ‘Interviews: Anne Carson, The Art of Poetry No. 88’, Paris Review 171 www.theparisreview.org/interviews/5420/the-art-of-poetry-no-88-anne-carson (accessed 18 September 2015).Google Scholar

Albert, W. (1970) ‘Structures of Revolt in Giraudoux’s Electre and Anouilh’s Antigone’, Texas Studies in Literature and Language 12.1: 137–50.Google Scholar

Alexiou, M. (1982) ‘Diglossia in Greece’, in Standard Languages, Spoken and Written, ed. Haas, W. (Manchester), 156–92.Google Scholar

Allain, P. (2002) The Art of Stillness: The Theatre Practice of Tadashi Suzuki. New York.Google Scholar

Allan, R. (2009) ‘Towards a Typology of the Narrative Modes in Ancient Greek: Text Types and Narrative Structure in Euripidean Messenger Speeches’, in Discourse Cohesion in Ancient Greek, ed. Bakker, S. J. and Wakker, G. C. (Leiden and Boston), 171–203.Google Scholar

Allan, W. (ed.) (2008) Euripides: Helen. Cambridge.Google Scholar

Allfree, C. (2016) ‘A Somewhat Disjointed, Sometimes Revelatory Evening with Euripides – Review’, Telegraph, 4 May, www.telegraph.co.uk/theatre/what-to-see/iphigenia-quartet-gate-theatre-review-somewhat-disjointed-someti (accessed 27 February 2020).Google Scholar

Alonso, M. (2016) ‘We Are Standing in the Nick of Time: Translative Relevance in Anne Carson’s Antigonick’, MA thesis, Florida International University.Google Scholar

Andreadis, Y. (ed.) (2005) Στα ίχνη του Διονύσου: παραστάσεις αρχαίας τραγωδίας στην Ελλάδα, 1867–2000 (In the Tracks of Dionysus: Ancient Tragedy Performances in Greece 1867–2000). Athens.Google Scholar

Andrew, D. (1980) ‘The Well-Worn Muse: Adaptation in Film History and Theory’, in Narrative Strategies: Original Essays in Film and Prose Fiction, ed. Conger, S. M. and Welsch, J. R. (Champaign), 9–17.Google Scholar

Andújar, R. and Nikoloutsos, K. (eds.) (2020) Greeks and Romans on the Latin American Stage. London.Google Scholar

Anonymous (2016a) ‘Το Εθνικό Θέατρο ανεβάζει «Αντιγόνη» του Σοφοκλέους στα Κατεχόμενα!’ (‘The National Theatre Presents Sophocles’ ‘Antigone’ in the Occupied Areas!’), Chrysi Avgi, 14 September: 10.Google Scholar

Anonymous (2016b) ‘Αντιδράσεις για την Αντιγόνη στα Κατεχόμενα’ (‘Reactions against Antigone in the Occupied Areas’), Demokratia, 13 September: 30.Google Scholar

Anonymous (2016c) ‘Οργή των Κυπρίων για το θέατρο στην Αμμόχωστο’ (‘Cypriots Angry at the Performance in Famagusta’), Demokratia, 30 September: 5.Google Scholar

Anonymous (2016d) ‘Θεατρική πρόκληση στα Κατεχόμενα’ (‘Theatrical Provocation in the Occupied Areas’), Espresso, 27 September: 9.Google Scholar

Anonymous (2016e) ‘Η «Αντιγόνη» του Εθνικού Θεάτρου στο αρχαίο θέατρο της Δωδώνης’ (‘National Theatre’s ‘Antigone’ at the Ancient Theatre of Dodona’), Proinos Logos Ioanninon, 30 July: 5.Google Scholar

Anouilh, J. (1946) Antigone. Paris.Google Scholar

Anouilh, J. (1986) Œdipe ou le Roi boiteux: D’après Sophocle. Paris.Google Scholar

Anouilh, J. (2005) Antigone, trsl. Bray, B., comm. and notes Freeman, T.. London.Google Scholar

Appadurai, A. (1988) The Social Life of Things: Commodities in Cultural Perspective. Cambridge.Google Scholar

Appiah, K. A. (1993) ‘Thick Translation’, Callaloo 16.4, 808–19.CrossRefGoogle Scholar

Arnds, P. (2001) ‘Translating a Greek Myth: Christa Wolf’s Medea in a Contemporary Context’, Neophilologus 85: 415–28.Google Scholar

Aronson, A. (2005) Looking into the Abyss: Essays on Scenography. Ann Arbor.Google Scholar

Arvaniti, K. (2010) Η αρχαία ελληνική τραγωδία στο Εθνικό Θέατρο, τ. Α’: Θωμάς Οικονόμου – Φώτος Πολίτης – Δημήτρης Ροντήρης (Greek Tragedy at the National Theatre, vol. i, Thomas Oikonomou – Fotos Politis – Dimitris Rondiris). Athens.Google Scholar

Ashcroft, B., Griffiths, G., and Tiffin, H. (1989) The Empire Writes Back: Theory and Practice in Post-Colonial Literatures. London and New York.Google Scholar

Ashcroft, B., Griffiths, G., and Tiffin, H. (eds.) (1995) The Post-Colonial Studies Reader. London and New York.Google Scholar

Asoya, S. (2008) ‘Bacchae of Euripides, a Satirical Play by Wole Soyinka Comes Alive at the National Theatre’, A Warning Defied, 8 April.Google Scholar

Auletta, R. (2006) The Persians by Aeschylus. New York.Google Scholar

Auslander, P. (1999) Liveness: Performance in a Mediatized Culture. London.Google Scholar

Ayres, S. (2005) ‘Helene Cixous’s The Perjured City: Nonprosecution Alternatives to Collective Violence’, City University of New York Law Review 9.1, https://academicworks.cuny.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=1117&context=clr (accessed 25 October 2018).Google Scholar

Bache, B. (2015) ‘Theatre Review: Antigone, Malthouse Theatre’, Herald Sun, 27 August.Google Scholar

Baker, M. and Saldanha, G. (eds.) (2009) Routledge Encyclopedia of Translation Studies, 2nd edn. Abingdon.Google Scholar

Bakogianni, A. (2011) Electra, Ancient and Modern: Aspects of the Reception of the Tragic Heroine (Bulletin of the Institute of Classical Studies, Supplement 113). London.Google Scholar

Bakogianni, A. (2013a) ‘The Triumph of Demotike: The Triumph of Medea’, in Hardwick, and Harrison, (2013), 197–212.Google Scholar

Bakogianni, A. (ed.) (2013b) Dialogues with the Past 1: Classical Reception Theory and Practice, Bulletin of the Institute of Classical Studies, Supplement 126-1. London.Google Scholar

Bakogianni, A. (2019) ‘Performing Grief: Mourning Does Indeed Become Electra’, Thersites 9: 45–69.Google Scholar

Balakrishnan, , Guru Sadanam, P. V. (2009) In conversation with Saskya Jain at the International Kathakali Centre, New Delhi, 28 January.Google Scholar

Balme, C. (2014) The Theatrical Public Sphere. Cambridge.Google Scholar

Bamford, K. (2000) Sexual Violence on the Jacobean Stage. London.Google Scholar

Banks, D. (2010) ‘From Homer to Hip Hop: Orature and Griots, Ancient and Present’, Classical World 103.2: 238–45.Google Scholar

Bano, T. (2016) ‘The Iphigenia Quartet Review at Gate Theatre, London – “Tragedy Through a Prism”’, The Stage, 4 May.Google Scholar

Barchiesi, A. (2015) Homeric Effects in Vergil’s Narrative. Princeton.Google Scholar

BareFacedGreek (2017) The Watchman, www.youtube.com/watch?v=Vh6gN8nQWSk (accessed 29 January 2017).Google Scholar

Barthes, R. (1972a) Mythologies, trsl. Lavers, A.. New York. (French original published Paris, 1957).Google Scholar

Barthes, R. (1972b) Critical Essays, trsl. Howard, R.. Evanston.Google Scholar

Barthes, R. (1973) Le Plaisir du texte. Paris.Google Scholar

Barthes, R. (1977) Fragments d’un discours amoureux. Paris.Google Scholar

Barthes, R. (1978) Image-Music-Text, trsl. Heath, S.. New York.Google Scholar

Barthes, R. (2000 [1988]). ‘Death of the Author’, in Modern Criticism and Theory: A Reader, ed. Lodge, D. and Wood, N. (Harlow), 146–50.Google Scholar

Bassnett, S. (2002) Translation Studies, 3rd edn. London and New York.Google Scholar

Bassnett, S. (2013) Translation Studies, 4th edn. London and New York.Google Scholar

Bassnett, S. (2014) Translation. Abingdon and New York.Google Scholar

Bastian, J. A. B. (2003) Owning Memory: How a Caribbean Community Lost Its Archives and Found Its History. Westport and London.Google Scholar

Batstone, W. W. (2006) ‘Provocation: The Point of Reception Theory’, in Martindale, and Thomas, (2006), 14–20.Google Scholar

Baxter, J. K. (1982) Collected Plays, ed. McNaughton, H.. Auckland.Google Scholar

Beard, M. (2014) ‘Domestic Violence’, Times Literary Supplement, 30 July.Google Scholar

Beaton, R. (1999) An Introduction to Modern Greek Literature, rev. edn. Oxford. (1st edn 1994.)Google Scholar

Beaton, R. (2003) George Seferis: Waiting for the Angel, A Biography. New Haven.Google Scholar

Beaton, R. (2013) Byron’s War: Romantic Rebellion, Greek Revolution. Cambridge.Google Scholar

Beaton, R. and Ricks, D. (eds.) (2009) The Making of Modern Greece: Nationalism, Romanticism, and the Uses of the Past, 1797–1896. London.Google Scholar

Beckett, F. (2005) Olivier. London.Google Scholar

Beckett, S. (1986) The Complete Dramatic Works. London.Google Scholar

Bemba, S. (1990) Black Wedding Candles for Blessed Antigone, trsl. T. Brewster, in Bemba, et al., Theater and Politics (New York), 1–62.Google Scholar

Bemba, S. (1995) Noces posthumes de Santigone. Solignac.Google Scholar

Benedict, D. (1996) ‘What Sarah Did Next’, Independent, 4 May, www.independent.co.uk/arts-entertainment/what-sarah-did-next-1347390.html (accessed 25 February 2020).Google Scholar

Berkobien, M. (2013) ‘An Interview with Anne Carson and Robert Currie’, Asymptote, October 2013, www.asymptotejournal.com/article.php?cat=Interview&id=24&curr_index=36&curPage (accessed 15 July 2015).Google Scholar

Berkoff, S. (1992) The Theatre of Steven Berkoff. London.Google Scholar

Berkoff, S. (2000a) Plays 1. London.Google Scholar

Berkoff, S. (2000b) Plays 3. London.Google Scholar

Berkoff, S. (2012) Agamemnon; The Fall of the House of Usher. Charlbury.Google Scholar

Bevan, D. (ed.) (1989) Literature and Revolution. Amsterdam.Google Scholar

Bexley, E. (2011) ‘Show or Tell? Seneca’s and Sarah Kane’s Phaedra Plays’, Trends in Classics 3: 365–93.Google Scholar

Billington, M. (1999) ‘A Challenge for Our Time: Review of The Oresteia’, Guardian, 2 December, www.theguardian.com/stage/1999/dec/03/theatre.artsfeatures (accessed 25 February 2020).Google Scholar

Billington, M. (2007) ‘The Bacchae’, Guardian, 13 August, www.theguardian.com/culture/2007/aug/13/edinburghfestival2007.edinburghfestival3 (accessed 10 November 2019).Google Scholar

Billington, M. (2015) ‘Oresteia Review: Icke Brings us Aeschylus for the Modern Age’, Guardian, 7 June, www.theguardian.com/stage/2015/jun/07/oresteia-review-icke-brings-us-aeschylus-for-the-modern-age (accessed 15 January 2020).Google Scholar

Birringer, J. (1998) Media & Performance: Along the Border. Baltimore.Google Scholar

Birringer, J. (2014) ‘The Theater and Its Screen Double’, Theater Journal 66.2: 207–25.Google Scholar

Blasi, A. (1974) ‘On Becoming Responsible: Orestes in Aeschylus and in Sartre’, Review of Existential Psychology and Psychiatry 13: 70–87.Google Scholar

Blau, H. (1987) The Eye of the Prey. Bloomington.Google Scholar

Bloom, H. (1979) ‘The Breaking of Form’, in Deconstruction and Criticism, ed. Bloom, H. et al. (London), 1–37.Google Scholar

Boal, A. (2000) Theater of the Oppressed, trsl. C. A. and Leal McBride, M.-O. and Fryer, E.. London. (1st edn 1979.)Google Scholar

Boenisch, P. M. (2006) ‘Aesthetic Art to Aisthetic Art: Theater, Media, Intermedial Performance’, in Intermediality and Performance, ed. Chapple, F. and Kattenbelt, C. (Amsterdam), 103–16.Google Scholar

Bortolotti, G. R. and Hutcheon, L. (2007) ‘On the Origin of Adaptations: Rethinking Fidelity Discourse and “Success” – Biologically’, New Literary History 38.3: 443–58.Google Scholar

Bosher, K., Macintosh, F., McConnell, J., and Rankine, P. (eds.) (2015) The Oxford Handbook of Greek Drama in the Americas. Oxford.Google Scholar

Boulogne, J. (2007) ‘L’Éclairage de la figure d’Électre par Giraudoux’, Bulletin de l’Association Guillaume Budé 1: 118–31.Google Scholar

Bourdieu, P. (1977) Outline of a Theory of Practice, trsl. Nice, R.. Cambridge.Google Scholar

Bourdieu, P. (1986) ‘The Forms of Capital’, in Handbook of Theory and Research for the Sociology of Education, ed. Richardson, J. G. (Westport), 241–58.Google Scholar

Boyle, A. J. (1997) Tragic Seneca: An Essay in the Theatrical Tradition. London and New York.Google Scholar

Boyum, J. G. (1985) Double Exposure: Fiction into Film. New York.Google Scholar

Brantley, B. (2009) ‘The Bacchae: God vs. Man in an Open-Air Fight,’ New York Times, 25 August: C5.Google Scholar

Brantley, B. (2019) ‘Review: Marilyn Monroe Goes to War in “Norma Jeane Baker of Troy”’, New York Times, 10 April 2019, www.nytimes.com/2019/04/10/theater/norma-jeane-baker-of-troy-review.html (accessed 2 September 2019).Google Scholar

Bremer, J. M. (1976) ‘Why Messenger-Speeches?’, in Miscellanea Tragica in Honorem J. C. Kamerbeek, ed. Bremer, J. M. et al. (Amsterdam), 29–48.Google Scholar

Brenton, H. (1981) The Romans in Britain, 2nd edn. London.Google Scholar

Brillenburg Wurth, K. (2013) ‘Re-vision as Remediation: Hypermediacy and Translation in Anne Carson’s Nox’, Image [&] Narrative 14: 20–33.Google Scholar

Brink, A. (1999) ‘Mandela, a Tiger for Our Time’, Guardian, 22 May, www.theguardian.com/world/1999/may/22/southafrica.nelsonmandela (accessed 12 January 2020).Google Scholar

Britton, C. and Syrotinski, M. (2001) ‘Introduction’, Paragraph 24.3: 1–11.Google Scholar

Brodie, G. and Cole, E. (eds.) (2017) Adapting Translation for the Stage. London.Google Scholar

Brodie, G. and Cole, E. (2018) ’Conversations with Iphigenia’, Practitioners’ Voices in Classical Reception Studies 9, www.open.ac.uk/arts/research/pvcrs/2018/iphigenia (accessed 10 March 2020).Google Scholar

Brook, P. (1968) The Empty Space. London.Google Scholar

Brown, P. and Ograjenšek, S. (eds.) (2010) Ancient Drama in Music for the Modern Stage. Oxford.Google Scholar

Bruckner, D. J. R. (1999) ‘Trojan War Victims Lie on Normandy Beaches’, New York Times, 29 November, www.nytimes.com/1999/11/29/theater/theater-review-trojan-war-victims-lie-on-normandy-beaches.html (accessed 14 January 2020).Google Scholar

Bruhn, J. (2013) ‘Dialogizing Adaptation Studies: From One-Way Transport to a Dialogic Two-Way Process’, in Bruhn, , Gjelsvik, , and Hanssen, (2013), 69–88.Google Scholar

Bruhn, J., Gjelsvik, A., and Hanssen, E. F. (eds.) (2013) Adaptation Studies: New Challenges, New Directions. London and New York.Google Scholar

Brusberg-Kiermeier, S. (2001) ‘Re-writing Seneca: Sarah Kane’s Phaedra’s Love’, in Crossing Borders: Intercultural Drama and Theatre at the Turn of the Millennium, ed. Reitz, B. and von Rothkirch, A. (Trier), 165–72.Google Scholar

Bryant, J. (2013) ‘Textual Identity and Adaptive Revision: Editing Adaptation as Fluid Text’, in Bruhn, , Gjelsvik, , and Hanssen, (2013), 47–68.Google Scholar

Budelmann, F. (2007) ‘Trojan Women in Yorubaland: Femi Osofisan’s Women of Owu’, in Hardwick, and Gillespie, (2007), 15–39.Google Scholar

Burgess, A. (1962) A Clockwork Orange. Harmondsworth.Google Scholar

Burian, P. (1997) ‘Tragedy Adapted for Stages and Screens: The Renaissance to the Present’, in Easterling, (1997a), 228–83.Google Scholar

Burke, A. (2003) ‘Interviews in Classical Performance Research: Journalistic Interviews’, Essay 5 in the series ‘Essays on Documenting and Researching Modern Productions of Greek Drama: The Sources’, www.open.ac.uk/arts/research/greekplays/publications/essays/burke-journalistic-interviews (accessed 3 March 2020).Google Scholar

Burke, A. (2005) ‘Dramatic Techniques in Performing Aeschylus’ Agamemnon: The Oresteia at the Royal National Theater’, PhD thesis, Queen Margaret University, Edinburgh.Google Scholar

Burke, A. and Innes, P. (2004, rev. 2007) ‘Interviews in Classical Performance Research: Academic Interviews’, Essay 6 in the series Essays on Documenting and Researching Modern Productions of Greek Drama: The Sources’, www.open.ac.uk/arts/research/greekplays/publications/essays/burke-innes-interviews-performance-research (accessed 10 March 2020).Google Scholar

Burton, A. (ed.) (2005) Archive Stories: Facts, Fictions, and the Writing of History. Durham and London.Google Scholar

Butler, J. (2000) Antigone’s Claim: Kinship between Life and Death. New York.Google Scholar

Butler, J. (2012) ‘Can’t Stop Screaming’, Public Books, 5 September, www.publicbooks.org/fiction/cant-stop-screaming (accessed 12 September 2015).Google Scholar

Butler, S. (1772) Hudibras, in Three Parts, ed. Grey, Z., vol. ii. London.Google Scholar

Cairns, D. (2016) Sophocles: Antigone. London.Google Scholar

Cairns, D. (2017) ‘The Destruction of Thebes in Brecht’s Antigone’, in Aeschylus and War: Comparative Perspectives on Seven against Thebes, ed. Torrance, I. (New York), 186–201.Google Scholar

Calvino, I. (2000) Why Read the Classics?, trsl. McLaughlin, M.. New York.Google Scholar

Campbell, P. A. (2010) ‘Sarah Kane’s Phaedra’s Love: Staging the Implacable’, in Sarah Kane in Context, ed. de Vos, L. and Saunders, G. (Manchester), 173–83.Google Scholar

Campbell, P. A. (2011) ‘Remaking the Chorus: Charles Mee Jr.’s Orestes 2.0’, Comparative Drama 45: 65–79.Google Scholar

Campbell, P. A. (2012) ‘Postdramatic Greek Tragedy’, Journal of Dramatic Theory and Criticism, 25: 55–74.Google Scholar

Carabott, P. (1993) ‘Politics, Orthodoxy and the Language Question in Greece: The Gospel Riots of November 1901’, Journal of Mediterranean Studies 3.1: 117–38.Google Scholar

Carney, S. (2005) ‘The Tragedy of History in Sarah Kane’s Blasted’, Theatre Survey 46.2: 275–96.Google Scholar

Carr, C. (2008) On Edge: Performance at the End of the Twentieth Century. Hanover, NH.Google Scholar

Carr, M. (1999) Plays 1. London.Google Scholar

Carr, M. (2009) Plays 2. London.Google Scholar

Carr, M. (2015) Plays 3. London.Google Scholar

Carruthers, J. and Takahashi, Y. (2004) The Theatre of Suzuki Tadashi. Cambridge.Google Scholar

Carson, A. (2012) Antigonick: Sophokles. New York.Google Scholar

Carson, A. (trsl.) (2015) Sophokles: Antigone. London.Google Scholar

Cartmell, D. (ed.) (2012) A Companion to Literature, Film and Adaptation. Oxford.Google Scholar

Caswell, M. (2014) Archiving the Unspeakable: Silence, Memory, and the Photographic Record in Cambodia. Madison and London.Google Scholar

Causey, M. (2001) ‘Stealing from God: The Crisis of Creation in Socìetas Raffaello Sanzio’s Genesi and Eduardo Kac’s Genesis’, Theatre Research International 26: 199–208.Google Scholar

Cavendish, D. (2013) ‘National Theatre’s 50th: The Best Shows from 1973–83’, Telegraph, 15 October, www.telegraph.co.uk/culture/theatre/10364303/National-Theatres-50th-the-best-shows-from-1973-1983.html (accessed 20 February 2020).Google Scholar

Cavendish, D. (2015) ‘Oresteia, Almeida Theatre, Review: “Bogged down”’, Telegraph, 6 June, www.telegraph.co.uk/culture/theatre/theatre-reviews/11656622/Oresteia-Almeida-Theatre-review-bogged-down.html (accessed 16 January 2020).Google Scholar

Chalaye, S. (2004) ‘“Un conte archaïque urbain qui empêche de dormir”: Entretien de Sylvie Chalaye avec Rosa Gasquet sur la mise en scène de Bintou (Bruxelles, novembre 2003)’, Africultures, 29 February, www.africultures.com/php/index.php?nav=article&no=3311 (accessed 24 February 2020).Google Scholar

Cixous, H. (2004) ‘The Perjured City: Or, The Awakening of the Furies’, in Selected Plays of Hélène Cixous, ed. Prenowitz, E. (London and New York), 89–190.Google Scholar

Clapp, S. (2015a) ‘A Terrifying Immediacy’, Guardian, 7 June, www.theguardian.com/stage/2015/jun/07/oresteia-almeida-review-lia-williams-angus-wright (accessed 9 November 2019).Google Scholar

Clapp, S. (2015b) ‘Robert Icke, Theatre Director: “Oresteia? It’s Quite Like The Sopranos”’, Guardian, 23 August, www.theguardian.com/stage/2015/aug/23/robert-icke-director-oresteia-1984-interview (accessed 10 March 2020).Google Scholar

Clark, A. (2015) Surfing Uncertainty: Prediction, Action, and the Embodied Mind. Oxford.Google Scholar

Clark, J. (1991) The Modern Satiric Grotesque and Its Traditions. Lexington.Google Scholar

Cobb, S. (2012) ‘Film Authorship and Adaptation’, in Cartmell, (2012), 105–21.Google Scholar

Cohen, R. (2008) Global Diasporas: An Introduction. London and New York.Google Scholar

Cole, C. M. (2010) Performing South Africa’s Truth Commission: Stages of Transition. Bloomington.Google Scholar

Cole, E. (2019) Postdramatic Tragedies. Oxford.Google Scholar

Conacher, D. J. (1955) ‘Theme and Technique in the Philoctetes and Oedipus of André Gide’, University of Toronto Quarterly 24.2: 121–35.Google Scholar

Constantinidis, S. (ed.) (2016) The Reception of Aeschylus’ Plays through Shifting Models and Frontiers. Leiden.Google Scholar

Conte, G. B. (1994) Latin Literature: A History, trsl. Solodow, J. B., rev. Fowler, D. and Most, G. W.. Baltimore and London.Google Scholar

Cook, W. W. and Tatum, J. (2010) African American Writers and Classical Tradition. Chicago and London.Google Scholar

Costa, M. (2013) ‘Meet Ben Power – the National Theatre’s Secret Weapon’, Guardian, 24 July, www.theguardian.com/stage/2013/jul/24/ben-power-national-theatre-hush (accessed 5 March 2020).Google Scholar

Craven, L. (ed.) (2008) What Are Archives? Cultural and Theoretical Perspectives: A Reader. Aldershot and Burlington.Google Scholar

Croggon, A. (2015) ‘Antigone, a Greek Tragedy Plays Out in Paris and Melbourne – Review’, ABC News, www.abc.net.au/arts/blog/Alison-Croggon/antigone-greek-tragedy-plays-out-melbourne-paris-150901 (accessed 22 September 2016).Google Scholar

Cross, R. (2004) Steven Berkoff and the Theatre of Self-Performance. Manchester.Google Scholar

Csapo, E. and Miller, M. C. (eds.) (2007) The Origins of Theater in Ancient Greece and Beyond: From Ritual to Drama. Cambridge.Google Scholar

Cutchins, D., Krebs, K., and Voigts, E. (2018) The Routledge Companion to Adaptation. Abingdon-on-Thames and New York.Google Scholar

Dahl, M. K. (1987) Political Violence in Drama: Classical Models, Contemporary Variations. Ann Arbor.Google Scholar

Dahl, M. K. (1991) ‘Stage Violence as Thaumaturgic Technique’, in Redmond, (1991), 251–9.Google Scholar

Damaskos, D. and Plantzos, D. (eds.) (2008) A Singular Antiquity: Archaeology and Hellenic Identity in Twentieth-Century Greece. Athens.Google Scholar

Dasgupta, A. (2009) In conversation with Saskya Jain at Sangeet Natak Akademi, New Delhi, 16 February.Google Scholar

Davidson, J. F. (2007) ‘Euripides’ Bacchae in New Zealand Dress’, Antichthon 41: 97–108.Google Scholar

Davis, M. (2012) ‘The Transcendence of Greek Tragedy and the Suffused Politics into the Modern Theatrical Arena: With Specific Focus on the Adaptation of Sophocles’ Antigone by Koffi Kwahulé’ (unpublished essay).Google Scholar

De Jong, I. J. F. (2014) Narratology and Classics: A Practical Guide. Oxford.Google Scholar

Dean, T. (2013) ‘Phaedra Backwards’, Irish Theatre Magazine, 23 October, http://itmarchive.ie/web/Reviews/Current/Phaedra-Backwards.aspx.html (accessed 10 March 2020).Google Scholar

Decreus, F. (2019) The Ritual Theatre of Theodoros Terzopoulos. London.Google Scholar

Degenring, F. (2010) ‘Taboo, Transgression, and (Self-) Censorship in Twentieth-Century British Theater’, in Taboo and Transgression in British Literature from the Renaissance to the Present, ed. Horlacher, S., Glomb, S., and Heiler, L. (New York), 227–42.Google Scholar

Deleuze, G. and Guattari, F. (1999) A Thousand Plateaus, trsl. Massumi, B.. London.Google Scholar

Derrida, J. (1996) Archive Fever: A Freudian Impression, trsl. Prenowitz, E.. Chicago and London.Google Scholar

Derrida, J. (2002) ‘Archive Fever in South Africa’, in Hamilton, et al. (2002), 38–80.Google Scholar

Disejenu, J. (2007) ‘Cross-Cultural Bonds between Ancient Greece and Africa: Implications for Contemporary Staging Practices’, in Hardwick, and Gillespie, (2007), 72–85.Google Scholar

Dodds, E. R. (ed.) (1960) Euripides: Bacchae, 2nd edn. Oxford.Google Scholar

Doerries, B. (2015) The Theater of War: What Ancient Greek Tragedies Can Teach Us Today. New York.Google Scholar

Dolan, J. (2012) The Feminist Spectator as Critic. 2nd edn. Ann Arbor.Google Scholar

Dolce, L. (1560) Tragedie di M. Lodovico Dolce: cioè, Giocasta, Didone, Thieste, Medea, Ifigenia, Hecuba. Venice.Google Scholar

Dominik, W. J. (2007) ‘Africa’, in A Companion to the Classical Tradition, ed. Kallendorf, C. W. (Oxford), 117–31.Google Scholar

Doolittle, H. (= H. D.) (2003) Hippolytus Temporizes & Ion: Adaptations of Two Plays by Euripides by H. D. New York.Google Scholar

Dryden, J. and Lee, N. (1679) Oedipus: A Tragedy. As It Is Acted at His Royal Highness the Duke’s Theatre. London.Google Scholar

Dubois, L. (2003) ‘In Search of the Haitian Revolution’, in Forsdick, and Murphy, (2003), 27–34.Google Scholar

Duffy, M. (1969) ‘Rites’, in New Short Plays 2 (London), 5–36.Google Scholar

Duncan, A. and Liapis, V. (2018) ‘Theatre Performance after the Fifth Century’, in Liapis, and Petrides, (2018), 180–203.Google Scholar

Eagleton, T. (2003) Sweet Violence: The Idea of the Tragic. Malden and Oxford.Google Scholar

Easterling, P. E. (1997a) The Cambridge Companion to Greek Tragedy. Cambridge.Google Scholar

Easterling, P. E. (1997b) ‘Form and Performance’, in Easterling, (1997a), 151–77.Google Scholar

Eastman, H. (2013) ‘Greek Tragedy and the Modern Director’, in Bakogianni, (2013b), 27–37.Google Scholar

Eleutheroglou, N. (2016) ‘Ανεβάζουν παράσταση στην κατεχόμενη Αμμόχωστο’ (‘A Performance to Be Presented in Occupied Famagusta’), Demokratia, 29 September: 6.Google Scholar

Eliot, T. S. (1951) Poetry and Drama: The Theodore Spencer Memorial Lecture, Harvard University, November 21, 1950. London.Google Scholar

Eliot, T. S. (1964 [1939]) The Family Reunion. New York.Google Scholar

Elliott, K. (2013) ‘Theorizing Adaptations/Adapting Theories’, in Bruhn, , Gjelsvik, and Hanssen, (2013), 19–45.Google Scholar

Ellis, J. (1982) ‘The Literary Adaptation’, Screen 23 (May–June): 3–5.Google Scholar

Elsom, J. (1976) Post-War British Theatre. London, Boston, Henley.Google Scholar

Erkelenz, M. (1996). ‘The Genre and Politics of Shelley’s Swellfoot the Tyrant’, Review of English Studies, n.s. 47.188: 500–20.Google Scholar

Ewans, M. (1984) ‘Elektra: Sophokles, Von Hofmannsthal, Strauss’, Ramus 13.2: 135–54.Google Scholar

Fanon, F. (1952) Peau noire, masques blancs. Paris.Google Scholar

Farber, Y. (2008) Molora. London.Google Scholar

Fenollosa, E. and Pound, E. (1916) Noh or Accomplishment: A Study of the Classical Stage of Japan. London.Google Scholar

Ferrario, S. B. (2016) ‘Aeschylus and Western Opera’, in Constantinidis, (2016), 176–212.Google Scholar

Ferri, R. (2003) Octavia: A Play Attributed to Seneca, Cambridge Classical Texts and Commentaries 41. Cambridge.Google Scholar

Ferris, D. S. (2000) Silent Urns: Romanticism, Hellenism, Modernity. Stanford.Google Scholar

Findlater, R. (1997) ‘The Winding Road to King’s Reach’, in Callow, S., The National: The Theatre and Its Work 1963–1997 (London), 79–83.Google Scholar

Finglass, P. J. (ed.) (2011) Sophocles: Ajax. Cambridge.Google Scholar

Finglass, P. J. (2015) ‘Reperformances and the Transmission of Texts’, Trends in Classics 7.2: 259–76.Google Scholar

Fischer-Lichte, E. (2004) ‘Thinking about the Origins of Theatre in the 1970s’, in Hall, , Macintosh, , and Wrigley, (2004), 329–60.Google Scholar

Fischer-Lichte, E. (2005) Theatre, Sacrifice, Ritual: Exploring Forms of Political Theatre. Abingdon and New York.Google Scholar

Fischer-Lichte, E. (2008) The Transformative Power of Performance: A New Aesthetics. New York.Google Scholar

Fischer-Lichte, E. (2010) ‘Performance as Event – Reception as Transformation’, in Hall, and Harrop, (2010), 29–42.Google Scholar

Fischer-Lichte, E. (2014a) The Routledge Introduction to Theatre and Performance Studies, ed. Arjomand, M. and Mosse, R., trsl. Arjomand, M.. London and New York.Google Scholar

Fischer-Lichte, E. (2014b) Dionysus Resurrected: Performances of Euripides’ The Bacchae in a Globalizing World. Malden and Oxford.Google Scholar

Fischer-Lichte, E. (2017) Tragedy’s Endurance: Performances of Greek Tragedies and Cultural Identity in Germany since 1800. Oxford and New York.Google Scholar

Fisher, M. (2019) ‘Oedipus Review – Robert Icke’s Take Exerts Thriller-like Grip’, Guardian, 16 August, www.theguardian.com/stage/2019/aug/16/oedipus-review-kings-theatre-edinburgh-festival-2019-robert-icke-sophocles (accessed 27 October 2019).Google Scholar

Flashar, H. (1991) Inszenierung der Antike: Das griechische Drama auf der Bühne der Neuzeit. Munich.Google Scholar

Fleishman, M. (1990) ‘Workshop Theatre as Oppositional Form’, South African Theatre Journal 4.1: 88–118.Google Scholar

Fleishman, M. (1997) ‘Physical Images in the South African Theatre’, South African Theatre Journal 11.1–2: 199–214.Google Scholar

Fleming, K. (2013) ‘“For Everyone Must Answer the Sphinx”: Ted Hughes’s Translation of Seneca’s Oedipus’, Canadian Review of Comparative Literature, Special Issue, 40.1: 105–22.Google Scholar

Fludernik, M. (ed.) (2003) Diaspora and Multiculturalism: Common Traditions and New Developments. Amsterdam and New York.Google Scholar

Foley, H. P. (1999) ‘Modern Performance and Adaptation of Greek Tragedy’, Transactions of the American Philological Association 129: 1–12.Google Scholar

Foley, H. P. (2012) Reimagining Greek Tragedy on the American Stage, Sather Classical Lectures. Berkeley.Google Scholar

Forsdick, C. (2003) ‘Revisiting Exoticism: From Colonialism to Postcolonialism’, in Forsdick, and Murphy, (2003), 46–55.Google Scholar

Forsdick, C. and Murphy, D. (2003) Francophone Postcolonial Studies: A Critical Introduction. London.Google Scholar

Forster, E. M. (1923) Pharos and Pharillon, 2nd edn. London.Google Scholar

Forsyth, A. (2009) ‘Pacifist Antigones’, in Performing Adaptations: Essays and Conversations on the Theory and Practice of Adaptation, ed. MacArthur, M., Wilkinson, L., and Zaiontz, K. (Newcastle-upon-Tyne), 25–42.Google Scholar

Foucault, M. (1972) The Archaeology of Knowledge and The Discourse on Language, trsl. Sheridan Smith, A. M.. New York.Google Scholar

Fradinger, M. (2011) ‘Danbala’s Daughter: Félix Morisseau-Leroy’s Antigòn an Kreyòl’, in Mee, and Foley, (2011), 127–46.Google Scholar

Fragoudaki, A. (1992) ‘Diglossia and the Language Situation in Greece’, Language in Society 21: 365–81.Google Scholar

Freshwater, H. (2003) ‘The Allure of the Archive’, Poetics Today 24.4: 729–58.Google Scholar

Freud, S. (1999) The Interpretation of Dreams, trsl. Crick, J.. Oxford. (German original published 1899.)Google Scholar

Fried, R. K. (1985) ‘The Cinematic Theater of John Jesurun’, Drama Review 29:1: 57–72.Google Scholar

Friedman, R. (2007) ‘Derek Walcott’s “Odysseys”’, International Journal of the Classical Tradition 14.3–4: 455–80.Google Scholar

Fries, A. (2014) Pseudo-Euripides, Rhesus: Edited with Introduction and Commentary. Berlin and New York.Google Scholar

Fuchs, E. (1986) ‘The PAJ Casebook: Alcestis’, PAJ 10: 79–115.Google Scholar

Fuchs, E. (1996) The Death of Character: Perspectives on Theater after Modernism. Bloomington and Indianapolis.Google Scholar

Fuhrmann, A. (2015) ‘Antigone (Malthouse, Melbourne)’, Daily Review, 26 August, https://dailyreview.com.au/antigone-malthouse-melbourne (accessed 22 September 2016).Google Scholar

Gallagher-Ross, J. (2009) ‘Postdramatic Stress Syndrome: Dood Paard’s medEia at P.S. 122’, Drama Review 53.1: 129–35.Google Scholar

Gamel, M.-K. (2010) ‘Revising “Authenticity” in Staging Ancient Mediterranean Drama’, in Hall, and Harrop, (2010), 153–70.Google Scholar

Gardner, L. (2005) ‘Phaedra’s Love’, Guardian, 31 October, www.theguardian.com/culture/2005/oct/31/theatre.art (accessed 9 March 2020).Google Scholar

Gardner, L. (2011) ‘Oedipus – Review’, Guardian, 3 March, www.theguardian.com/stage/2011/mar/03/oedipus-review (accessed 10 June 2019).Google Scholar

Gardner, L. (2016) ‘The Iphigenia Quartet Review: Picking Over a Greek Myth’s Bloody Bones’, Guardian, 4 May, www.theguardian.com/stage/2016/may/04/the-iphigenia-quartet-review-gate-london (accessed 22 February 2020).Google Scholar

Garland, R. (2004) Surviving Greek Tragedy. London.Google Scholar

Geertz, C. (1993 [1973]), The Interpretation of Cultures. New York and London.Google Scholar

Genette, G. (1992) The Architext: An Introduction, trsl. Lewin, J. E.. Berkeley.Google Scholar

Genette, G. (1997a) Palimpsests: Literature in the Second Degree, trsl. Newman, C. and Doubinsky, C.. Lincoln, NE.Google Scholar

Genette, G. (1997b) Paratexts: Thresholds of interpretation, trsl. J. E. Lewin. Cambridge.Google Scholar

Georgakopoulou, A. and Silk, M. (eds.) (2009) Standard Languages and Language Standards: Greek, Past and Present. Farnham.Google Scholar

George, N. (2004) ‘Sample This’, in That’s the Joint! The Hip-Hop Studies Reader, ed. Forman, M. and Neal, M. A. (New York), 437–41.Google Scholar

Georgoussopoulos, K. (1991) ‘The Chinese Paradigm: Medea Has Been Liberated and Revitalized by China’s Style and Speech’, trsl. A. Siouzouli, Ta Nea, 7 July.Google Scholar

Gibbs, J. (2007) ‘Antigone and Her African Sisters: West African Versions of a Greek Original’, in Hardwick, and Gillespie, (2007), 54–71.Google Scholar

Gide, A. (1925) Le Prométhée mal enchaîné. Paris.Google Scholar

Gide, A. (1942) Théâtre: Saul–Le Roi Candaule–Œdipe–Perséphone–Le Treizième arbre. Paris.Google Scholar

Gide, A. (1948) Le Retour de l’enfant prodigue; précédé de cinq autres traités: Le Traité du Narcisse–La Tentative amoureuse–El Hadj–Philoctète–Bethsabé. Paris.Google Scholar

Gide, A. (2007) Prometheus Illbound, trsl. L. Rothermere. New York.Google Scholar

Giesekam, G. (2007) Staging the Screen: The Use of Film and Video in Theater. New York.Google Scholar

Gilbert, H. and Tompkins, J. (1996) Post-colonial Drama: Theory, Practice, Politics. London and New York.Google Scholar

Gilliatt, P. (1980) ‘A Nigerian Original’, in Critical Perspectives on Wole Soyinka, ed. Gibbs, J. (Washington, DC), 106–7.Google Scholar

Glynn, D. (2015) (Re)telling Old Stories: Peter Brook’s Mahabharata and Ariane Mnouchkine’s Les Atrides. New York.Google Scholar

Goetsch, S. (1994) ‘Playing against the Text: Les Atrides and the History of Reading Aeschylus’, Tulane Drama Review 38: 75–95.Google Scholar

Goff, B. (2005) ‘Dionysiac Triangles: The Politics of Culture in Wole Soyinka’s The Bacchae of Euripides’, in The Soul of Tragedy: Essays on Athenian Drama, ed. Pedrick, V. and Oberhelman, S. M. (Chicago and London), 73–88.Google Scholar

Goff, B. and Simpson, M. (2007) Crossroads in the Black Aegean: Oedipus, Antigone and Dramas of the African Diaspora. Oxford.Google Scholar

Goff, B. and Simpson, M. (2011) ‘Voice from the Black Box: Sylvain Bemba’s Black Wedding Candles for Blessed Antigone’, in Mee, and Foley, (2011), 324–39.Google Scholar

Goldberg, R. (2011) Performance Art: From Futurism to the Present, 3rd edn. London.Google Scholar

Golder, H. (1996) ‘Geek Tragedy? Or, Why I’d Rather Go to the Movies’, Arion 4: 174–209.Google Scholar

Goldhill, S. (1987) ‘The Great Dionysia and Civic Ideology’, Journal of Hellenic Studies 107: 58–76.Google Scholar

Goldhill, S. (1991) ‘Violence in Greek Tragedy’, in Redmond, (1991), 15–33.Google Scholar

Goldhill, S. (1997) ‘The Language of Tragedy: Rhetoric and Communication’, in Easterling, (1997a), 127–50.Google Scholar

Goldhill, S. (2004) Aeschylus: The Oresteia. Cambridge.Google Scholar

Goldhill, S. (2007) How to Stage Greek Tragedy Today. Chicago and London.Google Scholar

Goldhill, S. (2012) Sophocles and the Language of Tragedy. Oxford.Google Scholar

Goldhill, S. (2015) ‘Introduction’, in Icke, (2015), 4–7.Google Scholar

Goodwin, T. (1988) Britain’s Royal National Theatre: The First 25 Years. London.Google Scholar

Goto, Y. (1989) ‘The Theatrical Fusion of Suzuki Tadashi’, Asian Theater Journal 6: 103–23.Google Scholar

Gould, E. (1981) Mythical Intentions in Modern Literature. Princeton.Google Scholar

Goutsos, D. (2009) ‘Competing Ideologies and Post-Diglossia Greek: Analysing the Discourse of Contemporary “Myth-Breakers”’, in Georgakopoulou, and Silk, (2009), 321–39.Google Scholar

Grammatas, T. (2006) Για το δράμα και το θέατρο (On Drama and Theatre). Athens.Google Scholar

Green, A. S. (1994) The Revisionist Stage: American Directors Reinvent the Classics. Cambridge.Google Scholar

Greenwood, E. (2005) ‘“We Speak Latin in Trinidad”: Uses of Classics in Caribbean Literature’, in Classics and Colonialism, ed. Goff, B. (London), 65–91.Google Scholar

Greenwood, E. (2010) Afro-Greeks: Dialogues between Anglophone Caribbean Literature and Classics in the Twentieth Century. Oxford.Google Scholar

Greenwood, E. (2013) ‘Omni-local Classical Receptions’, Classical Receptions Journal, Special Issue, 5.3: 354–61.Google Scholar

Greenwood, E. (2016) ‘Reception Studies: The Cultural Mobility of Classics’, Daedalus: Journal of the American Academy of Arts and Sciences 145.2: 41–9.Google Scholar

Gregory, J. (ed.) (2005). A Companion to Greek Tragedy. Malden.Google Scholar

Grene, D. and Lattimore, R. (trsl.) (2013)The Complete Greek Tragedies, 3rd edn, ed. Griffith, M. and Most, G. W., 9 vols. Chicago.Google Scholar

Griffith, M. (2010) ‘Psychoanalysing Antigone’, in Interrogating Antigone in Postmodern Philosophy and Criticism, ed. Wilmer, S. E. and Žukauskaitė, A. (Oxford), 110–34.Google Scholar

Gruber, W. (2010) Offstage Space, Narrative, and the Theatre of the Imagination. New York.Google Scholar

Gumpert, M. (2001) Grafting Helen: The Abduction of the Classical Past. Madison.Google Scholar

Gussow, M. (1985) ‘A Seagull in Washington’, New York Times, 17 December, www.nytimes.com/1985/12/17/theater/theater-a-seagull-in-washington.html (accessed 5 June 2015).Google Scholar

Gussow, M. (1986) ‘THEATER: ALCESTIS’, New York Times, 21 March, www.nytimes.com/1986/03/21/theater/theater-alcestis.html (accessed 19 December 2014).Google Scholar

Güthenke, C. (2008) Placing Modern Greece: The Dynamics of Romantic Hellenism, 1770–1840. Oxford.Google Scholar

Hall, E. (1989) Inventing the Barbarian: Greek Self-Definition through Tragedy. Oxford.Google Scholar

Hall, E. (2004a) ‘Why Greek Tragedy in the Late Twentieth Century?’, in Hall, , Macintosh, , and Wrigley, (2004), 1–46.Google Scholar

Hall, E. (2004b) ‘Towards a Theory of Performance Reception’, Arion, 3rd series, 12: 51–89.Google Scholar

Hall, E. (2010a) Greek Tragedy: Suffering Under the Sun. Oxford.Google Scholar

Hall, E. (2010b) ‘Towards a Theory of Performance Reception’, in Hall, and Harrop, (2010), 10–28.Google Scholar

Hall, E. and Harrop, S. (eds.) (2010) Theorising Performance: Greek Drama, Cultural History and Critical Practice. London.Google Scholar

Hall, E. and Macintosh, F. (2005) Greek Tragedy and the British Theatre, 1660–1914. Oxford.Google Scholar

Hall, E., Macintosh, F., and Taplin, O. (eds.) (2000) Medea in Performance 1500–2000. Oxford.Google Scholar

Hall, E., Macintosh, F., and Wrigley, A. (eds.) (2004) Dionysus since 69: Greek Tragedy at the Dawn of the Third Millennium. Oxford.Google Scholar

Hall, P. (1983) Diaries. London.Google Scholar

Hamilakis, Y. (2007) The Nation and Its Ruins: Antiquity, Archaeology and the National Imagination in Greece. Oxford.Google Scholar

Hamilton, C., Harris, V., Taylor, J., Pickover, M., Reid, G., and Saleh, R. (eds.) (2002) Refiguring the Archive. Dordrecht, Boston, London.Google Scholar

Hanink, J. (2014) Lycurgan Athens and the Making of Classical Tragedy. Cambridge.Google Scholar

Hanink, J. (2018) ‘Scholars and Scholarship on Tragedy’, in Liapis, and Petrides, (2018), 324–49.Google Scholar

Hankir, A., Kirkcaldy, B., Carrick, F. R., Sadiq, A., and Zaman, R. (2017) ‘The Performing Arts and Psychological Well-Being’, Psychiatria Danubina 29 (Suppl. 3): 196–202.Google Scholar

Hannaway, C. B. (2013) ‘Translations of the Self: A. E. Housman and Anne Carson, between Scholarship and Creativity’, PhD thesis, Durham University.Google Scholar

Hardwick, L. (2003) Reception Studies, Greece & Rome: New Surveys in the Classics 33. Oxford.Google Scholar

Hardwick, L. (2004) ‘Greek Drama and Anti-Colonialism: Decolonising Classics’, in Hall, , Macintosh, , and Wrigley, (2004), 219–42.Google Scholar

Hardwick, L. (2005) ‘Staging Agamemnon: The Languages of Translation’, in Agamemnon in Performance 458 BC to AD 2004, ed. Macintosh, F., Michelakis, P., Hall, E., and Taplin, O. (Oxford), 207–21.Google Scholar

Hardwick, L. (2006) ‘Remodelling Receptions: Greek Drama as Diaspora in Performance’, in Martindale, and Thomas, (2006), 204–15.Google Scholar

Hardwick, L. (2007a) ‘Contests and Continuities in Classical Traditions: African Migrations’, in Hilton, and Gosling, (2007), 43–71.Google Scholar

Hardwick, L. (2007b) ‘Translating Greek Tragedy to the Modern Stage’, Theatre Journal 59.3: 358–61.Google Scholar

Hardwick, L. (2007c) ‘Shades of Multi-Lingualism and Multi-Vocalism in Modern Performances of Greek Tragedy in Post-Colonial Contexts’, in Hardwick, and Gillespie, (2007), 305–28.Google Scholar

Hardwick, L. (2010) ‘Negotiating Translation for the Stage’, in Hall, and Harrop, (2010), 192–207.Google Scholar

Hardwick, L. (2013a) ‘Translating Greek Plays for the Theatre Today: Transmission, Transgression, Transformation’, Target 25.3, Special Issue, 321–42.Google Scholar

Hardwick, L. (2013b) ‘The Problem of the Spectators: Ancient and Modern’, in Bakogianni, (2013b), 11–26.Google Scholar

Hardwick, L. (2015) ‘Audiences across the Pond: Oceans Apart or Shared Experiences?’, in Bosher, , Macintosh, , McConnell, , and Rankine, (2015), 819–40.Google Scholar

Hardwick, L. (2016) ‘Cultural Spaces in the Recent Translation and Performance of Greek Drama’, in Monaghan, and Montgomery Griffiths, (2016), 155–76.Google Scholar

Hardwick, L. (2018) ‘Can Transmission and Transformation be Reconciled?’, in Liapis, , Pavlou, , and Petrides, (2018), 9–25.Google Scholar

Hardwick, L. (2019) ‘Thinking with Classical Reception: Critical Distance, Critical Licence, Critical Amnesia?’, in Classics in Extremis: The Edges of Classical Reception, ed. Richardson, E. (London), 13–24.Google Scholar

Hardwick, L. (2020) ‘Aspirations and Mantras in Classical Reception Research: Can there Really be Dialogue between Ancient and Modern?’, in Framing Classical Receptions, ed. de Pourck, M. et al. (Nijmegen).Google Scholar

Hardwick, L., Easterling, P. E., Ireland, S., Lowe, N., and Macintosh, F. (eds.) (2000) Theatre: Ancient and Modern. Milton Keynes.Google Scholar

Hardwick, L. and Gillespie, C. (eds.) (2007) Classics in Post-Colonial Worlds. Oxford and New York.Google Scholar

Hardwick, L. and Harrison, S. J. (eds.) (2013) Classics in the Modern World: A Democratic Turn? Oxford.Google Scholar

Hargreaves, A. G. (2003) ‘The Contribution of North and Sub-Saharan African Immigrant Minorities to the Redefinition of Contemporary French Culture’, in Forsdick, and Murphy, (2003), 145–54.Google Scholar

Hargreaves, A. G. and Moura, J.-M. (2007) ‘Editorial Introduction: Extending the Boundaries of Francophone Postcolonial Studies’, International Journal of Francophone Studies 10.3: 307–11.Google Scholar

Harrison, T. (1985) Tony Harrison: Theatre Works 1973–1985. London.Google Scholar

Harrison, T. (1991) ‘The Oresteia in the Making: Letters to Peter Hall’, in Tony Harrison, ed. Astley, N. (Newcastle-upon-Tyne), 275–80.Google Scholar

Harrop, S. (2008) ‘Ezra Pound’s Women of Trachis: Modernist Translation as Performance Text’, Platform: Postgraduate eJournal of Theatre & Performing Arts 3: 90–106.Google Scholar

Hartigan, K. (1995) Greek Tragedy on the American Stage: Ancient Drama in Commercial Theater, 1882–1994. Westport and London.Google Scholar

Hartigan, K. (2009) Performance and Cure: Drama and Healing in Ancient Greece and Contemporary America. London.Google Scholar

Hass, A. W. (2014) Hegel and the Art of Negation: Negativity, Creativity and Contemporary Thought. London.Google Scholar

Hatzikiriakos, L. (2000) ‘“Μου αρνήθηκαν τους υπότιτλους”: Πικραμένος από την παράσταση στο Κολοσσαίο δηλώνει ο Β. Παπαβασιλείου’ (‘“I Was Denied Subtitling”: V. Papavassiliou Embittered after Colosseum Performance’), Eleftherotypia, 24 July.Google Scholar

Hatzipandazis, T. (2002) Από του Νείλου μέχρι του Δουνάβεως: Το χρονικό της ανάπτυξης του ελληνικού επαγγελματικού θεάτρου στο ευρύτερο πλαίσιο της Ανατολικής Μεσογείου, από την ίδρυση του ανεξάρτητου κράτους ως τη Μικρασιατική Καταστροφή (From the Nile to the Danube: A Chronicle of the Development of Greek Professional Theatre in the Context of the Eastern Mediterranean, from the Foundation of the Independent State till the Asia Minor Disaster), vols. i–ii. Heraklion.Google Scholar

Haubold, J. (2013) Greece and Mesopotamia: Dialogues in Literature. Cambridge.Google Scholar

Healy, J. F. (1978) Mining and Metallurgy in the Greek and Roman World. London.Google Scholar

Hebdige, D. (2003) Cut’n’mix: Culture, Identity and Caribbean Music. Abingdon.Google Scholar

Heck, T. F. (ed.) (1999) Picturing Performance: The Iconography of the Performing Arts in Concept and Practice. Rochester and Woodbridge.Google Scholar

Hegel, G. W. F. (1977) Phenomenology of Spirit, trsl. A. V. Miller. Oxford.Google Scholar

Hegel, G. W. F. (1986a) Phänomenologie des Geistes (Werke 3), ed. Moldenhauer, E. and Michel, K. M.. Frankfurt am Main.Google Scholar

Hegel, G. W. F. (1986b). Wissenschaft der Logik I; Erster Teil: Die objektive Logik; Erstes Buch (Werke 5), ed. Moldenhauer, E. and Michel, K. M.. Frankfurt am Main.Google Scholar

Hegel, G. W. F. (1986c). Vorlesungen über die Ästhetik III (Werke 15), ed. Moldenhauer, E. and Michel, K. M.. Frankfurt am Main.Google Scholar

Hegel, G. W. F. (1986d). Vorlesungen über die Philosophie der Religion II: Vorlesungen über die Beweise vom Dasein Gottes (Werke 17), ed. Moldenhauer, E. and Michel, K. M.. Frankfurt am Main.Google Scholar

Hegel, G. W. F. (1998) Aesthetics: Lectures on Fine Art, trsl. T. M. Knox. Oxford.Google Scholar

Heilman, R. B. (1953) ‘Alcestis and The Cocktail Party’, Comparative Literature 5.2: 105–16.Google Scholar

Helfer, R. and Loney, G. (eds.) (1998) Peter Brook: Oxford to Orghast. Amsterdam.Google Scholar

Henerson, E. (2011) ‘Trojan Women: Misery under the Stars’, Examiner, 17 September.Google Scholar

Herbert, J. (1993) A Theatre Workbook, ed. Courtney, C.. London.Google Scholar

Hermansson, C. (2015) ‘Flogging Fidelity: In Defense of the (Un)dead Horse’, Adaptation 8.2: 147–60.Google Scholar

Hestermann, S. (2003) ‘The German-Turkish Diaspora and Multicultural German Identity’, in Fludernik, (2003), 329–73.Google Scholar

Higgins, C. (2015) ‘Death Becomes Her: How Juliette Binoche and Ivo van Hove Remade Antigone’, Guardian, 18 February, www.theguardian.com/stage/2015/feb/18/juliette-binoche-ivo-van-hove-antigone (accessed 23 July 2015).Google Scholar

Highet, G. (1949) The Classical Tradition: Greek and Roman Influences on Western Literature. Oxford.Google Scholar

Hilton, J. and Gosling, A. (eds.) (2007) Alma Parens Originalis? The Reception of Classical Literature and Thought in Africa, Europe, the United States, and Cuba. Bern.Google Scholar

Hjorth, B. (2014) ‘We’re Standing in/the Nick of Time: The Temporality of Translation in Anne Carson’s Antigonick’, Performance Research 19.3: 135–9.Google Scholar

Hofmannsthal, H. von (1908) Electra: A Tragedy in One Act, trsl. A. Symons. New York.Google Scholar

Holford-Strevens, L. (1999) ‘Sophocles at Rome’, in Sophocles Revisited: Essays Presented to Sir Hugh Lloyd-Jones, ed. Griffin, J. (Oxford), 219–59.Google Scholar

Honig, B. (2013) Antigone, Interrupted. Cambridge.Google Scholar

Hornblower, S. (2018) ‘Hellenistic Tragedy and Satyr-Drama; Lycophron’s Alexandra’, in Liapis, and Petrides, (2018), 90–124.Google Scholar

Wenjun, Huang (1988) ‘Reuxin de lizan-wo kan Andigani’ ‘Praise for Humanity: Seeing a Performance of Antigone’), trsl. Kuan-wu Lin, Chinese Theatre 7: 43–4.Google Scholar

Hughes, T. (1968) ‘The Oedipus of Seneca’, Arion 7.3: 324–71.Google Scholar

Hughes, T. (1969) Seneca’s Oedipus. London.Google Scholar

Hunt, L. and Wing-Fai, L. (eds.) (2010) East Asian Cinemas: Exploring Transnational Connections on Film. London.Google Scholar

Hunwick, A. (1996) ‘Tragédie et dramaturgie: Les ambiguïtés dans l’Antigone d’Anouilh’, Revue d’histoire littéraire de la France 96.2: 290–312.Google Scholar

Hutcheon, L. (2006) A Theory of Adaptation. Abingdon and New York.Google Scholar

Hutcheon, L. (2012) A Theory of Adaptation, 2nd edn. London.Google Scholar

Icke, R. (2015) Aeschylus: Oresteia. London.Google Scholar

Ioannidis, G. (2016) ‘Ένα αγοροκόριτσο ωριμάζει πριν την ώρα του’ (‘A Tomboy Matures Before Her Time’), Efimerida ton Syntakton, 18 July: 34.Google Scholar

Ioannidou, E. (2017) Greek Fragments in Postmodern Frames: Re-writing Tragedy 1970–2005. Oxford.Google Scholar

Irigaray, L. (1985) Speculum of the Other Woman, trsl. G. C. Gill. Ithaca, NY.Google Scholar

Isherwood, C. (2002) ‘Review: To You, The Birdie!’, Variety, 25 February, http://variety.com/2002/legit/reviews/to-you-the-birdie-2-1200551138 (accessed 1 February 2017).Google Scholar

Jain, J. (2002) ‘India’s Republic Day Parade, Restoring Identities, Constructing the Nation’, in India’s Popular Culture: Iconic Spaces and Fluid Images, ed. Jain, J. (Mumbai), 62–75.Google Scholar

James, H. (1991) ‘Cultural Disintegration in Titus Andronicus: Mutilating Titus, Vergil, and Rome’, in Redmond, (1991), 123–40.Google Scholar

Jameson, F. (1993) ‘Postmodernism, or The Cultural Logic of Late Capitalism’, in Postmodernism: A Reader, ed. Docherty, T. (New York), 62–92.Google Scholar

Janko, R. (1994) The Iliad: A Commentary. Volume IV: Books 13–16. Cambridge.Google Scholar

Jebb, R. C. (1894) Sophocles: The Plays and Fragments. Part VI: The Electra. Cambridge.Google Scholar

Jebb, R. C. (1900) Sophocles: The Plays and Fragments. Part III: The Antigone, 3rd edn. Cambridge.Google Scholar

Jenkins, T. (2013) ‘Is There Too Much Rape on Stage and TV?’, Independent, 28 August, www.independent.co.uk/arts-entertainment/theatre-dance/features/is-there-too-much-rape-on-stage-and-tv-8788256.html (accessed 10 June 2019).Google Scholar

Jenkins, T. (2015) Antiquity Now: The Classical World in the Contemporary American Imagination. Cambridge.Google Scholar

Jeyifo, B. (1995) ‘Interview with Femi Osofisan’, Yearbook of Comparative and General Literature 43: 120–32.Google Scholar

Jeyifo, B. (ed.) (2001) Conversations with Wole Soyinka. Jackson.Google Scholar

Johnson, P. J. (1997) ‘Woman’s Third Face: A Psychosocial Reconsideration of Sophocles’ Antigone’, Arethusa 30: 369–98.Google Scholar

Johnston, D. (2011) ‘Metaphor and Metonymy: The Translator-Practitioner’s Visibility’, in Staging and Performing Translation: Text and Theatre Practice, ed. Baines, R., Marinetti, C., and Perteghella, M. (London), 11–30.Google Scholar

Jones, F. (1957) ‘Tragedy with a Purpose: Bertolt Brecht’s Antigone’, Tulane Drama Review 2.1: 39–45.Google Scholar

Jones, R. E. (1965 [1941]) The Dramatic Imagination. New York.Google Scholar

Jones, W. (1999 [1807]) ‘The Third Anniversary Discourse’ (2 February 1786), in The Works of Sir William Jones: with the Life of the Author, by Lord Teignmouth III, ed. Abbatista, Guido, ELIOHS (Electronic Library of Historiography), www.eliohs.unifi.it/testi/700/jones/Jones_Discourse_3.html (accessed 16 August 2016).Google Scholar

Jordan, E. (2002) ‘Unmasking the Myths? Marina Carr’s By the Bog of Cats … and On Raftery’s Hill’, in McDonald, and Walton, (2002), 243–62.Google Scholar

Jung, C. G. (1961) Freud and Psychoanalysis, trsl. R. F. C. Hull, in The Collected Works of C. G. Jung, vol. iv. New York.Google Scholar

Kaimio, M. (1988) Physical Contact in Greek Tragedy: A Study of Stage Conventions. Helsinki.Google Scholar

Kakridis, I. T. (1997) Οι αρχαίοι Έλληνες στη νεοελληνική λαϊκή παράδοση (Ancient Greeks in Modern Greek Folklore). Athens.Google Scholar

Kalb, J. (2001) ‘Samuel Beckett, Heiner Müller and Post-dramatic Theater’, Samuel Beckett Today/Aujourd’hui 11: 74–83.Google Scholar

Kaliss, E. M. (1971) ‘Anouilh through Euripides and Seneca’, Classical Folia 25: 212–17.Google Scholar

Kaltaki, M. (2000) ‘Ένας μη τραγικός Οιδίποδας …’ (‘A Non-Tragic Oedipus…’), Ependitis, 19 August.Google Scholar

Kane, S. (2001) Complete Plays: Blasted, Phaedra’s Love, Cleansed, Crave, 4.48 Psychosis, Skin. London.Google Scholar

Karakantza, E. D. (2020) Who Am I? (Mis)Identity and the Polis in Oedipus Tyrannus. Washington, DC.Google Scholar

Kaye, N. (1994). Postmodernism and Performance. London.Google Scholar

Kenward, C. (2016) ‘The Reception of Greek Drama in Early Modern England’, in Van Zyl Smit, (2016), 173–98.Google Scholar

Kershaw, B. (1992) The Politics of Performance: Radical Theatre as Cultural Intervention. London.Google Scholar

Kidd, R. (1985) ‘“Theatre for Development”: Diary of a Zimbabwe Workshop’, New Theatre Quarterly 1.2: 179–204.Google Scholar

Kilvert, I. S. (1968) ‘Seneca or Scenario?’, Arion 7.3: 501–11.Google Scholar

Kirby, J. (2012) ‘Aristotle on Sophocles’, in A Companion to Sophocles, ed. Ormand, K. (Oxford), 411–23.Google Scholar

Kitzinger, M. R. (2008) The Choruses of Sophokles’ Antigone and Philoctetes: A Dance of Words. Leiden.Google Scholar

Kneehigh (2005) The Kneehigh Anthology: Volume 1, London.Google Scholar

Komporaly, J. (2017) Radical Revival as Adaptation: Theatre, Politics, Society. London.Google Scholar

Koser, K. (ed.) (2003) New African Diasporas. London and New York.Google Scholar

Koukos, S. (2016) Interview with Stathis Livathinos: ‘Η γενιά της «Αντιγόνης» έχει ανάγκη από ήχο, από φωνή’ (‘“Antigone’s” Generation Needs a Voice’), Makedonia Kyriakis, 28 August: 54–5.Google Scholar

Kramer, J. (2007) ‘Experimental Journey’, New Yorker, 8 October: 48–57.Google Scholar

Krebs, K. (2012) ‘Translation and Adaptation: Two Sides of an Ideological Coin?’, in Translation, Adaptation and Transformation, ed. Raw, L. (London and New York), 42–53.Google Scholar

Krebs, K. (2014) ‘Introduction: Collisions, Diversions and Meeting Points’, in Translation and Adaptation in Theatre and Film, ed. Krebs, K. (London and New York), 1–12.Google Scholar

Krishnan, K. P. K. and Pillai, R. (2009) In conversation with Saskya Jain, 16 January.Google Scholar

Krüger, M. (1967) ‘Private Existenz und öffentliche Meinung: Zum Antigone-Drama von Jean Anouilh’, Zeitschrift für französische Sprache und Literatur 77.1–2: 64–89.Google Scholar

Kubiak, A. (1991) Stages of Terror: Terrorism, Ideology, and Coercion as Theatre History. Bloomington.Google Scholar

Kucewicz, C. (2016) “Mutilation of the Dead and the Homeric Gods’, Classical Quarterly 66.2: 425–36.Google Scholar

Kuppers, P. (2005) Disability and Contemporary Performance: Bodies on the Edge. Oxford and New York.Google Scholar

Kwahulé, K. (2003) Bintou. Carnières-Morlanwelz. (Originally published 1997.)Google Scholar

Kwahulé, K. (2008) ‘Men’s Business: An Interview with Chantal Zabus’, in Zabus, (2008), 171–90.Google Scholar

Lada-Richards, I. (2005) ‘Greek Tragedy and Western Perceptions of Actors and Acting’, in Gregory, (2005), 459–71.Google Scholar

Laera, M. (2013) Reaching Athens: Community, Democracy and Other Mythologies in Adaptations of Greek Tragedy. Frankfurt am Main.Google Scholar

Laera, M. (2014) Theatre and Adaptation: Return, Rewrite, Repeat. London.Google Scholar

Laera, M. (2015) ‘On Killing Children: Greek Tragedies on British Stages in 2015’, Critical Stages 12, www.critical-stages.org/12/on-killing-children-greek-tragedies-on-british-stages-in-2015/ (accessed 1 March 2020).Google Scholar

Laizé, H. (1997) Premières leçons sur Électre de Jean Giraudoux. Paris.Google Scholar

Lanfranchi, P. (2006) L’Exagoge d’Ezéchiel le Tragique: Introduction, texte, traduction et commentaire. Leiden.Google Scholar

Lanfranchi, P. (2018) ‘The Exagōgē of Ezekiel the Tragedian’, in Liapis, and Petrides, (2018) 125–46.Google Scholar

Lauriola, R. (2015a) ‘Medea’, in Lauriola, and Demetriou, (2015), 377–442.Google Scholar

Lauriola, R. (2015b) ‘Hippolytus’, in Lauriola, and Demetriou, (2015), 443–503.Google Scholar

Lauriola, R., and Demetriou, K. N. (eds.) (2015) Brill’s Companion to the Reception of Euripides. Leiden.Google Scholar

Lecznar, A. (2014) ‘Soyinka’s Bacchae: Reading Tragedy in Postcolonial Modernity’, PhD thesis, University College London.Google Scholar

Lecznar, A. (2020) Dionysus after Nietzsche: The Birth of Tragedy in Twentieth Century Literature and Thought. Cambridge.Google Scholar

Leeney, C. (2002) ‘The Return of Persephone? Missing Demeter in Irish Theatre’, in McDonald, and Walton, (2002), 232–43.Google Scholar

Leeney, C. and McMullan, A. (eds.) (2003) The Theatre of Marina Carr: ‘Before Rules Was Made’. Dublin.Google Scholar

Lehmann, H.-T. (1999) Postdramatisches Theater. Frankfurt am Main.Google Scholar

Lehmann, H.-T. (2006) Postdramatic Theatre, trsl. K. Jürs-Munby. London and New York.Google Scholar

Leitch, T. (2012) ‘Adaptation and Intertextuality, or, What Isn’t an Adaptation, and What Does It Matter?’, in Cartmell, (2012), 87–104.Google Scholar

Leiter, S. L. (1979) Kabuki Encyclopedia: An English-Language Adaptation of “Kabuki Jiten”. Westport and London.Google Scholar

Lensing, L. A. (2006) ‘Elektra “antik u. modern”: Zu einem Abend der Mittwoch-Gesellschaft im Jahre 1905 (mit einer unbekannten Postkarte Freuds an Paul Federn)’, Luzifer-Amor: Zeitschrift zur Geschichte der Psychoanalyse 38: 46–75.Google Scholar

Leonard, M. (2005). Athens in Paris: Ancient Greece and the Political in Post-war French Thought. Oxford.Google Scholar

Leonard, M. (2015) Tragic Modernities. Cambridge, MA.Google Scholar

Li, Jin-yuan (1998) ‘Shije renmin xihuan Zhongguo xiju yishi’ (‘Cosmopolitans Love Chinese Theatre Art’), trsl. Kuan-wu Lin, Da Wutai (The Great Stage) 3: 57.Google Scholar

Lianeri, A. and Zajko, V. (eds.) (2008) Translation and the Classic: Identity as Change in the History of Culture. Oxford.Google Scholar

Liapis, V. (2012) A Commentary on the Rhesus Attributed to Euripides. Oxford.Google Scholar

Liapis, V. (2013a) ‘Creon the Labdacid: Political Confrontation and the Doomed Oikos in Sophocles’ Antigone’, in Tragedy and Archaic Greek Thought, ed. Cairns, D. L. (Swansea), 81–118.Google Scholar

Liapis, V. (2013b) ‘Staging Rhesus’, in Performance in Greek and Roman Theatre, ed. Harrison, G. W. M. and Liapis, V. (Leiden), 235–53.Google Scholar

Liapis, V. (2014a) ‘Orestes and Nothingness: Yiannis Ritsos’ “Orestes”, Greek Tragedy, and Existentialism’, International Journal of the Classical Tradition 21: 121–58.Google Scholar

Liapis, V. (2014b) ‘“The Painful Memory of Woe”: Greek Tragedy and the Greek Civil War in the Work of George Seferis’, Classical Receptions Journal 6.1: 74–103.Google Scholar

Liapis, V. (2016) ‘On the Hector of Astydamas’, American Journal of Philology 137: 61–89.Google Scholar

Liapis, V. (2018) ‘Blowing Up the Parthenon: Greek Antiquity as a Burden and as a Rival on the Modern Greek Stage’, The Niki Marangou Lecture, King’s College London, 23 May 2019, www.academia.edu/39978325/Blowing_up_the_Parthenon_Greek_antiquity_as_a_burden_and_as_a_rival_on_the_modern_Greek_stage (accessed 27 February 2020).Google Scholar

Liapis, V., and Petrides, A. K. (eds.) (2018) Greek Tragedy after the Fifth Century: A Survey from ca. 400 BC to ca. AD 400. Cambridge.Google Scholar

Liapis, V. and Stephanopoulos, Th. K. (2018) ‘Greek Tragedy in the Fourth Century: The Fragments’, in Liapis, and Petrides, (2018), 25–65.Google Scholar

Liapis, V., Pavlou, M., and Petrides, A. K. (eds.) (2017) Debating with the Eumenides: Aspects of the Reception of Greek Tragedy in Modern Greece. Newcastle-upon-Tyne.Google Scholar

Lin, Kuan-wu (2010) Westlicher Geist im östlichen Körper? ‘Medea’ im interkulturellen Theater Chinas und Taiwans: Zur Universalisierung der griechischen Antike. Bielefeld.Google Scholar

Llewellyn-Jones, L. (2002) ‘Understanding Theater Space’, www2.open.ac.uk/ClassicalStudies/GreekPlays/essays/VisualSystems.htm (accessed 1 February 2017).Google Scholar

Lloyd-Jones, H. (1994) Sophocles: Antigone, The Women of Trachis, Philoctetes, Oedipus at Colonus, Loeb Classical Library 21. Cambridge, MA (corr. repr. 1998).Google Scholar

Lodewyck, L. and Monoson, S. S. (2015) ‘Performing for Soldiers: Twenty-First-Century Experiments in Greek Theater in the US’, in Bosher, , Macintosh, , McConnell, , and Rankine, (2015), 651–65.Google Scholar

Logan, W. (2012) ‘Song & Dance’, New Criterion, December 2012, www.newcriterion.com/articles.cfm/Song---dance-7511#footnote-34650-1-backlink (accessed 18 September 2015).Google Scholar

Løkse, A. M. C. (1994) ‘In Defence of Hellas: An Analysis of Shelley’s Hellas and Its Reception’, PhD thesis, Universitetet i Tromsø.Google Scholar

Lombardo, S. and Murnaghan, S. (1997) Homer: Iliad. Indianapolis.Google Scholar

Love, C. (2009) ‘Koffi Kwahulé’s Bintou and Sophocles’ Antigone: The Silent Form of Adaptation’, New Voices in Classical Reception Studies 4: 108–22, http://fass.open.ac.uk/sites/fass.open.ac.uk/files/files/new-voices-journal/issue4/6Love.pdf (accessed 20 February 2020).Google Scholar

Love, C. (2014) ‘Ben Power Talks Dramaturgy, Rebranding The Shed and Rethinking Medea’, What’sOnStage, 13 May, www.whatsonstage.com/london-theatre/news/05-2014/ben-power-talks-dramaturgy-rebranding-the-shed-and_34413.html (accessed 9 March 2020).Google Scholar

Lü, Y. (2004) ‘Germany: Myth and Apologia in Christa Wolf’s Novel Medea. Voices’, Portal: Journal of Multidisciplinary International Studies 1.1, https://epress.lib.uts.edu.au/journals/index.php/portal/article/view/50 (accessed 12 March 2020).Google Scholar

Maass, E. (1912) Goethe und die Antike. Stuttgart.Google Scholar

Macintosh, F. (1997) ‘Tragedy in Performance: Nineteenth- and Twentieth-Century Productions’, in Easterling, (1997a), 284–323.Google Scholar

Macintosh, F. (2007) ‘From the Court to the National: The Theatrical Legacy of Gilbert Murray’s Bacchae’, in Gilbert Murray Reassessed: Hellenism, Theatre, and International Politics, ed. Stray, C. (Oxford), 145–65.Google Scholar

Macintosh, F. (2009) Sophocles: Oedipus Tyrannus. Cambridge.Google Scholar

Macintosh, F. (2015) ‘Shakespearean Sophocles: (Re)-Discovering and Performing Greek Tragedy in the Nineteenth Century’, in The Oxford History of Classical Reception in English Literature, vol. iv (1790–1880), ed. Vance, N. and Wallace, J. (Oxford), 299–323.Google Scholar

Macintosh, F. (2016) ‘Conquering England: Ireland and Greek Tragedy’, in Van Zyl Smit, (2016), 173–98.Google Scholar

Mackay, A. (1989) ‘Fugard’s The Island and Sophocles’ Antigone within the Parameters of South African Protest Literature’, in Bevan, (1989), 145–62.Google Scholar

Mackridge, P. (ed.) (1996) Ancient Greek Myths in Modern Greek Poetry: Essays in Memory of C. A. Trypanis. London.Google Scholar

Mackridge, P. (2009) Language and National Identity in Greece 1766–76. Oxford.Google Scholar

Malafouris, L. (2013) How Things Shape the Mind. Cambridge, MA.Google Scholar

Malkin, J. (1992) Verbal Violence in Contemporary Drama. Cambridge.Google Scholar

Manheim, M. (ed.) (1998) The Cambridge Companion to Eugene O’Neill. Cambridge.Google Scholar

Mansfield, H. C. (1996) Machiavelli’s Virtue. Chicago.Google Scholar

Manuwald, G. (2011) Roman Republican Theatre. Cambridge.Google Scholar

Marcuse, H. (1973) Counter-Revolution and Revolt. Boston.Google Scholar

Martens, L. (1987) ‘The Theme of the Repressed Memory in Hofmannsthal’s Elektra’, German Quarterly 60.1: 38–51.Google Scholar

Martindale, C. (2003) Redeeming the Text. Cambridge.Google Scholar

Martindale, C. (2006) ‘Introduction: Thinking through Reception’, in Martindale, and Thomas, (2006), 1–13.Google Scholar

Martindale, C. and Thomas, R. F. (eds.) (2006) Classics and the Uses of Reception. Oxford.Google Scholar

Martinovich, M. K. (2003.) ‘The Study of Greeks and Ghosts in the Shaping of the American Premiere of By the Bog of Cats …’, in Leeney, and McMullan, (2003), 114–27.Google Scholar

Marwick, A. (1998) The Sixties: Cultural Revolution in Britain, France, Italy, and the United States, c.1958–c.1974. Oxford.Google Scholar

Mastrogiannitis, D. (2016) ‘Στάθης Λιβαθινός “Φτάνει με τα κλισέ στην τραγωδία”’ (‘Stathis Livathinos: Enough with the Clichés in Tragedy’), Athens Voice, 14 July: 30.Google Scholar

Matziri, S. (1998) ‘Myth Is a Lie that Tells the Truth’, trsl. A. Siouzouli, Eleftherotypia, 7 August.Google Scholar

Mavromoustakos, P. (2005) Το θέατρο στην Ελλάδα 1940–2000: Μια επισκόπηση (Theatre in Greece 1940–2000: An Overview). Athens.Google Scholar

Maxwell, D. (2016) ‘Theatre: The Iphigenia Quartet at the Gate Theatre, W11’, Times, 5 May, www.thetimes.co.uk/article/theatre-the-iphigenia-quartet-at-the-gate-theatre-w11-wzcz9fxc2 (accessed 30 January 2020).Google Scholar

McCall, D. (1969) The Theatre of Jean-Paul Sartre. New York and London.Google Scholar

McClain, T. D. (2009) [Review of Torrance 2007], Classical Review 59.2: 359–61.Google Scholar

McClellan, A. M. (2016) ‘The Death and Mutilation of Imbrius in Iliad 13’, Yearbook of Ancient Greek Epic 1.1: 159–74.Google Scholar

McConnell, J. (2013) Black Odysseys: The Homeric ‘Odyssey’ in the African Diaspora since 1939. Oxford.Google Scholar

McConnell, J. (2015) ‘Postcolonial Sparagmos: Toni Morrison’s Sula and Wole Soyinka’s The Bacchae of Euripides: A Communion Rite’, Classical Receptions Journal 8.2: 133–54.Google Scholar

McCusker, M. (2003) ‘“This Creole Culture, Miraculously Forged”: The Contradictions of “Créolité”’, in Forsdick, and Murphy, (2003), 112–21.Google Scholar

McDonald, M. (1992) Ancient Sun, Modern Light: Greek Drama on the Modern Stage. New York.Google Scholar

McDonald, M. (1999) ‘Black Dionysus: Greek Tragedy from Africa’, in Hardwick, , Easterling, , Ireland, , Lowe, , and Macintosh, (2000), 95–108.Google Scholar

McDonald, M. (2002) ‘The Irish and Greek Tragedy’, in McDonald, and Walton, (2002), 37–86.Google Scholar

McDonald, M. (2003) The Living Art of Greek Tragedy. Bloomington.Google Scholar

McDonald, M. and Walton, J. M. (eds.) (2002) Amid Our Troubles: Irish Versions of Greek Tragedy. London.Google Scholar

McGillivray, G. (2011) ‘The Performance Archive: Detritus or Historical Record?’, in Scrapbooks, Snapshots and Memorabilia: Hidden Archives of Performance, ed. McGillivray, G. (Bern), 11–28.Google Scholar

McKee, J. (2013) ‘Siti Troup Bringing Its Updated Anti-War Trojan Women (After Euripedes) to Ann Arbor’, Ann Arbor News, 23 April, www.annarbor.com/entertainment/siti-company-and-ums-bring-trojan-women-after-euripedes-to-ann-arbor (accessed 10 March 2020).Google Scholar

McMullan, A. (2003) ‘Unhomely Bodies and Dislocated Identities in the Drama of Frank McGuiness and Marina Carr’, in Indeterminate Bodies, ed. Segal, N., Taylor, L., and Cook, R. (New York), 181–91.Google Scholar

Mda, Z. (1993) When People Play People: Development Communication through Theatre. London.Google Scholar

Mee, C. L. (1998) History Plays. Baltimore.Google Scholar

Mee, C. L. (1999) ‘The Theatre of History’, in Conversations on Art and Performance, ed. Marranca, B. and Dasgupta, G. (Baltimore), 182–93.Google Scholar

Mee, E. B. and Foley, H. P. (eds.) (2011) Antigone on the Contemporary World Stage. Oxford and New York.Google Scholar

Meineck, P. (2006) ‘Live from New York: Hip Hop Aeschylus and Operatic Aristophanes’, Arion 14.1: 145–68.Google Scholar

Meineck, P. (2009) ‘“These Are Men Whose Minds the Dead Have Ravished”: Theater of War/The Philoctetes Project’, Arion 17.1: 173–92.Google Scholar

Meineck, P. (2012) ‘The Embodied Space: Performance and Visual Cognition at the Fifth Century Athenian Theatre’, New England Classical Journal 39: 3–46.Google Scholar

Meineck, P. (2013) ‘Under Athena’s Gaze: Aeschylus’ Eumenides and the Topography of Opsis’, in Performance in Greek and Roman Theatre, ed. Harrison, G. W. M. and Liapis, V. (Leiden), 161–79.Google Scholar

Meineck, P. (2016) ‘Greek Drama in North America’, in Van Zyl Smit, (2016), 397–421.Google Scholar

Meineck, P. (2017) Theatrocracy: Greek Drama, Cognition, and the Imperative for Theatre. Abingdon.Google Scholar

Meineck, P. and Konstan, D. (eds.) (2014) Combat Trauma and the Ancient Greeks. New York.Google Scholar

Memmi, A. (1957) Portrait du colonisé précédé du portrait du colonisateur. Paris.Google Scholar

Mendelsohn, D. (1997) ‘Yo, Achilles’, New York Times, 20 July, https://archive.nytimes.com/www.nytimes.com/books/97/07/20/reviews/970720.20mendelt.html (accessed 17 January 2020).Google Scholar

Mendelsohn, D. (2003) ‘The Bad Boy of Athens’, New York Review of Books, 13 February: 24–9, www.nybooks.com/articles/2003/02/13/the-bad-boy-of-athens/ (accessed 10 March 2020).Google Scholar

Merkouri, A. (2010) ‘Medea’s Sacrifice and the Unsatisfied Director: Euripides’ Medea by Anatoli Vassiliev’, in Tragic Heroines on Ancient and Modern Stage, ed. de Fátima Silva, M. and Hora Marques, S. (Coimbra), 87–108.Google Scholar

Merola, N. (1981) ‘Rileggere Alfieri: La tragedia della politica’, MLN 96 (Italian Issue): 70–88.Google Scholar

Mesiskli, E. (2016) ‘«Αντιγόνη» από το Εθνικό Θέατρο’ (‘Antigone’ from the National Theatre’), Peloponnesos, 19 August: 14.Google Scholar

Meyer, E. (1897) Machiavelli and the Elizabethan Drama. Weimar.Google Scholar

Meyrick, J. (2014) The Retreat of Our National Drama. Sydney.Google Scholar

Mezzabotta, M. R. (2000) ‘Ancient Greek Drama in the New South Africa’, in Hardwick, , Easterling, , Ireland, , Lowe, , and Macintosh, (2000), 246–68.Google Scholar

Michael, A. (2015) ‘Reflections of a Nation: Antigone on the Modern Greek Stage’, PhD thesis, Royal Holloway College, University of London.Google Scholar

Michelakis, P. (2010a) ‘Archiving Events, Performing Documents: On the Seductions and Challenges of Performance Archives’, in Hall, and Harrop, (2010), 95–107.Google Scholar

Michelakis, P. (2010b) ‘Theater Festivals: Total Works of Art, and the Revival of Greek Tragedy on the Modern Greek Stage’, Cultural Critique 74.1: 149–63.Google Scholar

Miller, A. V. (ed. and trsl.) (1969 [1835]) Hegel’s Science of Logic. London.Google Scholar

Miller, J. G. (2007) Ariane Mnouchkine. Abingdon and New York.Google Scholar

Miller, M. H. (2012) ‘A Matter of Time: Anne Carson Re-Writes “Antigone”’, Observer, 30 May, http://observer.com/2012/05/a-matter-of-time-anne-carson-re-writes-antigone/#ixzz3fc5FaDr2 (accessed 23 June 2015).Google Scholar

Mills, S. (2010) ‘Affirming Athenian Action: Euripides’ Portrayal of Military Activity and the Limits of Tragic Instruction’, in War, Democracy and Culture in Classical Athens, ed. Pritchard, D. M. (Cambridge), 163–83.Google Scholar

Milton, J. (1671) Paradise Regaind: A Poem in IV Books to Which is Added Samson Agonistes. London.Google Scholar

Minier, M. (2014) ‘Definitions, Dyads, Triads and Other Points of Connection in Translation and Adaptation Discourse’, in Translation and Adaptation in Theatre and Film, ed. Krebs, K. (London and New York), 13–35.Google Scholar

Mitchell, K. (2009) The Director’s Craft: A Handbook for the Theater. London.Google Scholar

Mnouchkine, A. (1992) ‘Ariane Mnouchkine’s Theater of History’, TheaterWeek, 5 October.Google Scholar

Moddelmog, D. A. (1993) Readers and Mythic Signs: The Oedipus Myth in Twentieth-Century Fiction. Carbondale.Google Scholar

Monaghan, P. (2009) ‘“I Can Not Act / Cause I’m No Actor” – Dood Paard’s Postdramatic medEia’, Didaskalia 7.2, www.didaskalia.net/issues/vol7no2/monaghan/monaghan.pdf (accessed 15 March 2020).Google Scholar

Monaghan, P. (2016a) ‘Aeschylus as Postdramatic Analogue: “A Thing Both Cool and Fiery”’, in Constantinidis, (2016), 250–79.Google Scholar

Monaghan, P. (2016b) ‘Tragedy Without Character: Dood Paard’s Postdramatic “Cool”’, in Monaghan, and Montgomery Griffiths, (2016), 197–223.Google Scholar

Monaghan, P. and Montgomery Griffiths, J. (eds.) (2016) Close Relations: Spaces of Greek and Roman Theatre. Newcastle-upon-Tyne.Google Scholar

Montgomery Griffiths, J. (2015a) Antigone. Sydney.Google Scholar

Montgomery Griffiths, J. (2015b) ‘What Women Critics Know That Men Don’t’, Performing Arts Hub, 1 October, http://performing.artshub.com.au/news-article/opinions-and-analysis/performing-arts/jane-griffiths/what-women-critics-know-that-men-don’t-249447 (accessed 22 September 2016).Google Scholar

Montgomery Griffiths, J. (2016) ‘Inside/Outside: The Problems of Space when Playing Electra’, in Monaghan, and Montgomery Griffiths, (2016), 177–96.Google Scholar

Moroney, M. (2001) ‘Katie Mitchell Devastates with Euripides’, Guardian, 30 March 2001, www.theguardian.com/stage/2001/mar/30/theatre.artsfeatures3 (accessed 10/3/2020).Google Scholar

Morrison, B. (2010) ‘Translating Greek Drama for Performance’, in Hall, and Harrop, (2010), 252–66.Google Scholar

Moschonas, S. (2009) ‘“Language Issues” after the “Language Question”: On the Modern Standards of Standard Modern Greek’, in Georgakopoulou, and Silk, (2009), 293–320.Google Scholar

Most, G. and Ozbek, L. (eds.) (2015) Staging Ajax’s Suicide. Pisa.Google Scholar

Mueller, M. (1980) Children of Oedipus and Other Essays on the Imitation of Greek Tragedy 1550–1800. Toronto.Google Scholar

Mueller, M. (1986) ‘Hofmannsthal’s Electra and Its Dramatic Models’, Modern Drama 29.1: 71–91.Google Scholar

Mulhallen, J. (2010). The Theatre of Shelley. Cambridge. http://books.openedition.org/obp/744.Google Scholar

Müller, H. (1984) Verkommenes Ufer; Medeamaterial; Landschaft mit Argonauten. Frankfurt am Main.Google Scholar

Murphy, D. (2003) ‘Beyond Tradition Versus Modernity: Postcolonial Thought and Culture in Francophone Sub-Saharan Africa’, in Forsdick, and Murphy, (2003), 221–30.Google Scholar

Myris, K. Ch. (trsl.) (2001) Ευριπίδου: Τρωάδες (Euripides: Trojan Women). Athens.Google Scholar

Neely, K. (1987) ‘Clytemnestra by Tadashi Suzuki’, Theatre Journal 39: 514–16.Google Scholar

Neill, R. (2013) ‘Hooked on Classics’, The Australian, 25 May.Google Scholar

Nestruck, K. (2009) ‘At Avignon, the Best Theatre Is All Greek’, Guardian, 20 July, www.theguardian.com/stage/theatreblog/2009/jul/20/avignon-theatre-greek (accessed 9 June 2016).Google Scholar

Nethercot, A. H. (1960) ‘The Psychoanalyzing of Eugene O’Neill’, Modern Drama 3.3: 242–56.Google Scholar

Neuburg, M. (1990) ‘How Like a Woman: Antigone’s “Inconsistency”’, The Classical Quarterly n.s. 40: 54–76.Google Scholar

Nevitt, L. (2013) Theatre and Violence. Basingstoke.Google Scholar

Newton, I. (1676) Letter from Sir Isaac Newton to Robert Hooke, Historical Society of Pennsylvania, http://digitallibrary.hsp.org/index.php/Detail/Object/Show/object_id/9285 (accessed 16 December 2016).Google Scholar

Thiong’o, Ngũgĩ wa (1986) Decolonising the Mind: The Politics of Language in African Literature. Oxford.Google Scholar

Thiong’o, Ngũgĩ wa (2012) Globalectics: Theory and the Politics of Knowing. New York.Google Scholar

Nikoloutsos, K. P. (2012) ‘Seneca in Cuba: Gender, Race, and the Revolution in José Triana’s Medea en el espejo’, Romance Quarterly 59.1: 19–35.Google Scholar

Nussbaum, M. C. (1986) The Fragility of Goodness: Luck and Ethics in Greek Tragedy and Philosophy. Cambridge.Google Scholar

Nwachuku, McPhilips (2008) ‘National Troupe Presents Soyinka’s The Bacchae of Euripides as Parable of Power’, Vanguard, 29 March.Google Scholar

O’Neill, E. (1988) Complete Plays 1920–1931, Library of America 41. New York.Google Scholar

Oosterling, H. and Plonowska Ziarek, E. (eds.) (2011) Intermedialities: Philosophy, Art, Politics. Lanham.Google Scholar

O’Reilly, K. (2010) Program-Notes: The Persians. Cardiff.Google Scholar